Erik T's Reviews

In her fourth American release, Seattle musician Aiko Shimada hits her stride as she draws upon different styles and approaches to her work. Blue Marble combines a Japanese based acoustic sound, elements of folk, jazz, ambient, and modern music with a melodic pop sensibility. The music flows; Shimada's voice is mellifluous, feminine, delivering mood to the music; thoughtfulness, longing, wistfulness, mystery. Neither melodramatic nor wallflower-y, her singing has a calm depth that fills the music.

In addition to her magnificent vocals, there are notable Northwest musicians involved in this project. Eyvind Kang, who has several Tzadik albums to his own credit, plays violin, viola, fretless bass, processed violins, and ashiko drums. Guitarist Bill Frisell makes an appearance on two numbers. In fact, Aiko is not afraid to step aside for two songs, one allowing Eyvind kang to solo his violin and viola, and "Song for Mark", a tribute to her husband and double bass player Mark Collins. Of particular interest is the remake of one of her own songs, "Toki wa Sugi", which originally appeared on the Window album in a more acoustic version. Here, the ensemble incorporates viola, violin, fretless bass, cello, and double bass for a lusher, "orchestral" sound.

Even if you don't understand Japanese, Aiko Shimada brings poetry to the sounds of her native Japanese language. She has successfully folded together different styles of music to create one of her strongest collections since Window. This one has earned repeat listening on my player.
Review Date: 5/25/2014

The first two full-length albums from the Innocence Mission are the self-titled LP and Umbrella. On A&M Records, they were produced by Larry Klein (a.k.a. the former Mr. Joni Mitchell.) These struck me as a combination of fascinating (if sometimes cryptic)lyrics, interesting instrumentation, a vocalist who was shy about either her voice (but had no reason to be, what a gift!) and production that brought to mind The Sundays and The Cocteau Twins.

On Glow, the third album, they set out with producer Dennis Herring (of Camper Van Beethoven fame)who worked with IM to strip away a few layers of sound production. It is still polished (in a good way) but there is much less in the way of synthesized keyboard sounds and heavy drumbeats, etc. The warmth of Karen Peris' vocals comes through, along with some tasty guitar and bass work. The feeling is still personal, in the sense that I carry pictures in my mind that accompany with these songs. (Disclaimer: my grandparents lived in their home town of Lancaster, PA, so I envision them in that house, in that neighborhood.)

As far as their religiousity, it is a part of their lives and it is subtly reflected from time to time. They don't beat the listener over the head, but they don't have to. When the IM list-serve was active, believers, agnostics, atheists and everyone in between happily coexisted in appreciation of this talented ensemble. (And we're all hoping they will tour again!)

Although I love the work on the first two albums, I see Glow as the collection where they really start to find their own sounds. This is one of my "go-to" albums, which I pull out for any number of moods. If I had to whittle down my over-sized collection by 90%, Glow would still remain.



Review Date: 6/27/2012

I've reviewed many albums over the years, but I remember EXACTLY where I was when I first heard Live at the Star Club. This was audio adrenaline; even though I had a stack of new releases that day, I couldn't stop listening to this. JLL is on fire and the sound is electrifying. If I had a time machine, I'd program it for that night in Hamburg.

I agree with the reviewer who said this may be the greatest live album ever. For those of you on the waiting list, This is one of those rare CDs that if you see it for sale, GRAB IT! It's worth the dough. Even if I back all my music to hard drive eventually, I'd keep this CD because it's irreplaceable. Until Rhino issues it again, this baby's gold.
Review Date: 8/20/2010

I've not seen the broadcast* but I became familiar with Amahl growing up. My mother played the role of The Mother in a stage production, so I'm sure she played the record while practicing the part. Having recently found a copy of this version, I put it in the CD player to test out. Just like that, the hour flew by as I became engaged in the story.

Although I hadn't thought of it in those terms, I agree with an earlier reviewer who notes that Menotti doesn't waste words on his characters, so the singing and recitatives all tell the story without showboating arias, etc. (Wagner it ain't, and that's ok here.)
Each of the singers brings character to their characters. Amahl, his mother, the three kings (one of whom definitely has a sense of humor) and the other shepherds of the village. That's all that is needed to tell the story.

I haven't heard other versions yet, so I won't comment on those. Although it's not "high fidelity," this ensemble interacts very well with each other, so that is part of why this is still so classic. That and a universal storyline.

*I just discovered this online site with the original broadcast, including an introduction by Menotti
http://www.cpr.org/classical/video/amahl-and-night-visitors-original-broadcast
Review Date: 7/27/2016

I agree with Roger Hyman and other reviewers: Past, Present and Future is Al's best album!

I knew many of his 1970s hits, but I picked this one up out of curiosity. I've always been fascinated with history and teach it now, so this was right up my alley. He pulls off the songs with a mix of storytelling, image painting and mood setting.
I'd pick "Roads to Moscow" as my favorite. He tells the story so that someone not familiar with history will get it, but puts in details that invite further investigation. For example, I hadn't known about the brilliant but bullheaded General Guderian, master strategist of the German tank corps.
As well, "Warren Harding" is such an oddball song, a glancing into the personal musings of one of America's most unqualified, overwhelmed presidents thus put to a calypso beat, that I can't help but singing it sometimes. "I just want someone to talk to, talk to..."

My only beef is a technical one: as of this review (March 2015) this CD has not been remastered, so the levels are waaay lower than other CDs. It's a problem when I play this (worthy) CD on the radio. If you still have a record player, I recommend rescuing a copy of the vinyl until that changes. Otherwise, get this CD anyway and crank it up.
Review Date: 3/15/2015

This album is all shades of gorgeous. I hear influences (real or imagined) peppered in there: "Call me the Breeze" where Lynyrd Skynyrd/J.J. Cale meet the Cocteau Twins, a touch of Nick Drake drops in. Beth tips her hat to Dusty In Memphis, and there's that moment where she does what I wish Karen Peris of the Innocence Mission would reach toward. Evocative, beautiful, wistful.
Some of this is due to the production of Tucker Martine (musical and life partner to the deliciously creative Laura Veirs, and a fine musician in his own right.) Martine draws out an accessible, but never pandering emotional and musical performance in Ms. Orton that I didn't get from her last release.
Four and a half stars for this gem which has been getting many spins at home and in the car.
Review Date: 4/18/2013

I knew each artist somewhat. Hearing these two together is just plain fun. Well-crafted, good balance between the two musical fun. Anita's take on "Thanks For the Memories" lifts it to the all time top ten list of kiss-off songs. If I were wealthy, I'd buy lots of copies and give them to various friends.

I've got no vibraphone issues, so it's five stars from this often-particular reviewer.

Review Date: 4/20/2014

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